What is the Tomatometer®?

The Tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. It represents the percentage of professional critic reviews that are positive for a given film or television show.

From the Critics

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Fresh

The Tomatometer is 60% or higher.

Rotten

The Tomatometer is below 60%.

Certified Fresh

Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.

Movie Reviews Only

The story though not strong and rather slowly developed is an excellent vehicle -- and a new one -- for Will Hay's particular kind of humour and fooling and he is in good form.&dash; Monthly Film Bulletin - EDIT

Though the balance of humour and dramatic suspense is good, the film is lacking in realism. However, taken solely from an entertainment angle, it may be enjoyed for its snappy dialogue and good comedy angles.&dash; Monthly Film Bulletin - EDIT

Admirers of George Formby will find little for complaint in this film, though it differs from his previous comedies in that the story is less improbable than usual and contains very little slapstick.&dash; Monthly Film Bulletin - EDIT

Peter Whitehead's fragmented look at the "swinging" London first brought to light by Time magazine is in some ways a fascinating document of contemporary mores. But as a film in its own right, it is confused, imitative and finally self-destructive.&dash; Monthly Film Bulletin - EDIT

As a plea against capital punishment, the producers' conception of their drama seems to lack passion, and this makes it difficult to assimilate the film's emotional climate.&dash; Monthly Film Bulletin - EDIT

After a series of prolonged climaxes, with its potential victims staring directly into the camera and shaking with fright, the "Unknown" finally emerges as a type of rolling rubber mattress, disappointingly unhorrific in content and appearance.&dash; Monthly Film Bulletin - EDIT

Visually, the theme is beautifully supported by Reeves' subtle use of colour, in which the delicate patchwork greens of the English countryside are shot through by the colours of death and decay as Matthew Hopkins prowls through it robed in black.&dash; Monthly Film Bulletin - EDIT

After a crude opening sequence of poor Joan Fontaine being frightened out of her wits by a prancing witch-doctor in an African hut, this very enjoyable thriller settles down more calmly to make good use of Nigel Kneale's highly literate script.&dash; Monthly Film Bulletin - EDIT

Through arduous months of filming at sea -- and using not professional actors but serving officers and men -- Dalrymple and Jackson have created a dramatic essay in realism which equals any comparable treatment of their subject.&dash; Monthly Film Bulletin - EDIT

No other film has so subtly and so truthfully portrayed the life of the airman in war, its problems, its hazards, its exaggerated casualness towards death, its courage, its humour, its comradeship.&dash; Monthly Film Bulletin - EDIT

From a thorough, thoughtful and lively script by Eric Ambler and Peter Ustinov, this is an outstanding piece of film-making from the viewpoint of production, direction, camera-work and acting.&dash; Monthly Film Bulletin - EDIT

Norman Wisdom brings to the screen his well-known stage personality, "the little man against the world," and with it its basic weakness -- its dependence on a first-rate script, which he lacks in this film.&dash; Monthly Film Bulletin - EDIT

Robert Shaw is chillingly effective in an intelligent performance which, for about twenty minutes deludes one into thinking that Lance Comfort's direction is much better than it really is.&dash; Monthly Film Bulletin - EDIT

Concerned with the sadness and desolation of life in a city, with the melancholy landscape in which the helpless loneliness of the deaf-mutes is only part of a general sadness, Together draws one remarkably into its world.&dash; Monthly Film Bulletin - EDIT

The script itself is disconcertingly short on wit, and some of its invention appears forced, and Crichton's handling fails to supply the charm that could still have been the film's justification.&dash; Monthly Film Bulletin - EDIT

A straightforward adaptation which follows the events of Dickens' crowded narrative with commendable fidelity. The pure excitement of the book is missing, however; and the fault lies mostly with T. E. B. Clarke's reverent but somewhat lifeless script.&dash; Monthly Film Bulletin - EDIT

There are several inconsistencies in the development of the plot, but a certain amount of the necessarily gruesome atmosphere has been caught and the story itself is so good that the film has some success. &dash; Monthly Film Bulletin - EDIT

The script maintains slightly the tone of an impeccably smooth and glossy novelette, romantic rather than sentimental, but scarcely concerned to explore its situation very deeply.&dash; Monthly Film Bulletin - EDIT

The respectfully dull costume productions of the Korda group since 1947 find full scope in this frightfully proper account of the work of "two great men of the Victorian stage".&dash; Monthly Film Bulletin - EDIT

It is sad that such resources should have been squandered on material of pulp magazine level, in which neither character nor incident nor theme has any coherence or interest.&dash; Monthly Film Bulletin - EDIT

Its shortcomings in presenting character and human situation seem the more disappointing in view of its conspicuous success in conveying both the excitements and something of the mystique of flying.&dash; Monthly Film Bulletin - EDIT

The direction, photography and editing of this film place it in a class by itself as an imaginative, and at the same time, strictly documentary, presentation of the island of Ceylon.&dash; Monthly Film Bulletin - EDIT

The whole weight of this gay idea is carried by Bernard Miles, Margaret Rutherford and Peter Sellers... Outside these three, the film is a rather poor example of conventional British screen comedy, with stock characters and situations.&dash; Monthly Film Bulletin - EDIT

Though The Singer Not the Song misses the strongly individual flavour of, say, The Sleeping Tiger, it is nevertheless a strangely compelling film. This is mainly due to the presence of Bogarde himself.&dash; Monthly Film Bulletin - EDIT

Though Gracie Fields is herself rather than the character she plays this will be regarded as no reason for criticism by her enthusiastic followers who will draw great amusement from the typical Lancashire humour throughout.&dash; Monthly Film Bulletin - EDIT

Handsomely mounted and more sophisticated than the usual run of British comedies, Simon and Laura provides a gentle but sometimes telling satire at the expense of the BBC and the acting profession.&dash; Monthly Film Bulletin - EDIT